Art Talks & Sketches



Title: (A)I Feel
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

Is it possible for machines to feel emotions? As we know for now, machines have no emotion. But if we humans teach them, will they be able to learn? (A)I FEEL is a project dedicated to find answers to our questions by creating a teaching & learning process between humans and a machine. To teach the machine, it asks each user to draw a picture which represents a specific emotion. Then, to demonstrate what the machine has learned, users can draw pictures to portray his/her emotion at the moment. Using Convolutional Neural Network (CNN), the machine will interpret user’s emotion into joy, sadness, anger, fear or disgust and colors the picture according to the emotion. The whole process will be visualized as an interactive installation which encourages people to participate in the project.


Title: 7x7
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

We live surrounded by displays such as TV, smartphone, computer. These bitmap displays consist of pixels arranged in a two-dimensional plane. 7×7 was created by re-arranging these pixels multidimensionally. This display consists of 49 pixels, and these pixels do not overlap in the front, at the back, up, down, left or right. Therefore, each pixel is able to represent all six directions. By using these 49 pixels, 7×7 expresses “Iroha,” which is an old Japanese pangram that expresses one of the aesthetics called “Mujo (impermanence and ever changing)”.


Title: Abstract Reality
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

Abstract Reality is an interactive installation that creates 3D geometric art as an abstract expression of physical human bodies. The application takes viewers physical features and their relation to the physical space as inputs to generate and place basic geometric forms in a virtual 3D space. Each geometric shape, virtual position and orientation, and color are affected by individual viewer’s physical positions, movements, and dominant colors. The overall structure of the geometric shapes is controlled by a modified Voronoi diagram, a computational geometric algorithm, to explore novel aesthetics.


Title: Associative Audio Design
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art

Title: B/W Mind
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

We are in fact already cyborgs, replicating ourselves as avatar forms online. Our cellphones and computers act as extensions of our own neural networks, imparting a boundless knowledge of facts and figures. B/W MIND is an experiential piece designed to manifest the interconnection humans have with technology


Title: CyberHuman Dances Series: An Articulation of Body, Space, and Motion in Performance
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
Abstract:

The CyberHuman Dance Series is an experimental dance work exploring simulations of physical and virtual phenomena in the context of perfor­mance. By integrating innovative digital technology with the choreographic and design process, this work investigates all aspects of design and performance in cyberspace, with particular emphasis on issues of real and perceived boundaries between virtual space and real space, and the possibility of a blurred distinction between two intersecting worlds.

Questions are raised as to possible metaphors for construction of virtual spaces and the bodies that inhabit them, leading to new ideas about the behavior of the body and its expression through motion. What, for instance, are the ways in which the cyberdancer begins to claim a virtually constructed space through movement? What kind of relationship (physical, emotional, psychological) can be established between real dancers and their cyberspatial counterparts? How can narrative identities be exchanged, modified, or made explicit? Finally, how can these investigations be brought to performance as a means of formulating
an appropriate language for dance in the virtual age?

An analysis of the work in progress offers an opportunity to discuss design issues related to the development of cyberspatial environments and virtual bodies. Issues of space, time, physicality, and gravity are visited, as is the question of how the body is to be represented and inhabited within a virtual space. What is the connection between humans and their represen­tational presence in cyberspace and what, exactly, does it mean to be cyberhuman? How can an articulation of the process of the design of the cyberfigure provide an answer to this question? What is an appropriate representation for o physical figure in a space that lacks physicality? How can a sense of bounded space be accommodated within an environment defined through its lack of edges?

In offering an analysis of the design and performance process, and the questions raised in the development al both cyberfigure and environment, a model for collaboration is proposed between individuals and across technologies. This model illuminates how a collaborative technological investigation infuses the work with a concern for methods of expression in virtual spaces and how innovative digital processes can be explored through experimentation with choreographic software, three-dimensional rendering programs, and their combination into output to digital video.

The creative process of making the work is examined in the collaboration between choreographer, designer, composer, and video artist. The conclu­sion argues that integration of the working methods of a group of individu­als trained in different aspects of the arts offers insight into the range of methodologies available for study and infuses the series with an energy of human discovery.

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Title: Disability in the Arts
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
Abstract:

Life with a physical disability has allowed me a unique and humbling perspective that has manifested in my art work. I create art with and for people who live with various types of physical and/ or mental limitations.

Because my work deals with issues of accessibility, it is essential for me to make my work accessible to people with a range of different abilities. The use of non-traditional materials and technology in my installations allows me to incorporate the senses of smell, taste, sound, and touch in addition to providing the more traditional visual experience.

Because I live with a wheelchair, collaboration has been an essential element in my work and life. Using the computer as on art medium hos allowed me the freedom and access to create virtual worlds that would have been impossible in my life. No longer do I need assistance to move a block of marble or build a room. The computer has given me all the tools I need to accomplish these tasks. Imagination is now my limitation.

My work is often referred to as interdisciplinary because I often use more than one medium to provide additional access to communication. Often the work is interactive, so the participant can experience art rather than just see it. The focus in my studies lies in educating and encouraging participants – regardless of prior experience, physical limitations, age, or ethnicity – to examine the relevance of art and accessibility in their own lives. For example, by incorporating a medium like Braille into an installa­tion, I can attempt to change an art piece to be more inclusive for a visually impaired audience.

I believe art is fundamentally a communicative experience that can be and should be shared by all. My research method includes a hands-on approach, working collaboratively with several different groups and individuals to create art pieces that have been specifically designed to incorporate more than the traditional visual experience.

What one person might feel is important or beautiful another may not. have found that by displaying work without an emphasis solely on the visual aspect, artistic integrity is still maintained. By including elements such as a wheelchair, Braille translations, and audio descriptions, individuals without mental or physical limitations may re-evaluate and gain a deeper appreciation for their own abilities by not only seeing art but experiencing and interacting with it.

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Title: Dream Grrrls: Metaphors
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
Abstract:

The process of designing multi-user virtual environments (VE) is similar to the process of designing code or imagery, in that it is necessary to pas­sionately maintain a catalog of ideas and references. VE design combines these passions to construct a consistent graphical user interface (GUI) with metaphors for exploration and self-reflection in a collaborative team effort.

Dream Grrrls, a VE created in the CAVE, focuses on the immersive nature of dreams. A typical GUI hos elements or icons that function as naviga­tional tools and sit on the periphery. VE icons do not operate like a tool­box, but ore spatially based, like the galleries in on art museum. Dream Grrrls is a journey through five different environments presented in a labyrinth filled with paths and three-dimensional objects or “icons.”

Much as art attempts to convey insight, Dream Grrrls attempts to generate a new awareness based on interaction and immersive experience in order to create an exciting new level of communication beyond verbal know ledge. Dream imagery presents itself in a way that makes the real uncer­tain. On one path, the participant can ignore the warnings (“Don’t go up there!”) and enter a commanding head. Inside, the navigational wand becomes a flashlight to reveal walls made of whispering faces and creatures. The light provides illumination – a gateway to another level of consciousness and ultimately, the many sides of ourselves.

In a world inhabited by large vessels, the user approaches the unfamiliar territory like a desert island of loneliness. One vessel has imposing eyes that follow the participant wherever she goes. She comes face to face with what could be her psyche. If she chooses to confront it, she finds herself unable to move, rattled by the world around her, only to awaken back where she come from (the labyrinth), the same, yet somehow different.

Dream Grrrls allows users to experience their world in a new and dynamic way, much like on active or lucid dream. Participants “cooperate” with the computer in such a way that one is uncertain of the action/reaction hierarchy. Dream Grrrls becomes a medium to create a personal performance by learning to interact with the environment and recognize its plasticity.

Dream Grrrls could not have been possible without the artist’s library of images and the focused dedication on software by Grit Sehmisch. Audio consultation was provided by Joe Reitzer, and programming consultation was provided by Marcus Thiebaux, Dave Pope, Bor-Tyng Lin, and on Electronic Visualization Laboratory of sages. Special Thanks to Dan Sandin, Tom DeFonti, Maxine Brown, Dana Plepys, Jim Costigan, and Maggie Rawlings. 

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Title: Embodisuit
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

A collaboration between Sophia Brueckner and Rachel Freire, the Embodisuit allows its wearer to map signals onto different places on their body. It both critiques and offers an alternative to current trends in wearable technology. Most wearables harvest data from their users to be sent and processed elsewhere. The Embodisuit flips this paradigm. Informed by embodied cognition, the suit instead receives signals from an IoT platform, and each signal controls a different haptic actuator on the body. Knowledge can be experienced ambiently without necessitating the interpretation of symbols by the conscious mind. The suit empowers wearers to reconfigure their boundaries strengthening their connection to the people, places, and things that are meaningful to them. Furthermore, we hypothesize that by changing the way people live with data, it will change the type of data that people create.


Title: Etheroid
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

An etheroid is a device that mediates an invisible “something” to exist in space. Each etheroid behaves autonomously, without any higher orders dictating how it is to behave. If you set a new etheroid near another one, the new etheroid will be added to the movements of the existing etheroids. Each propagates this behavior to one of the surrounding etheroids repeatedly. Thus, the movements of etheroids as a whole creates an invisible moving “something”. This concept is to create an atom of media for existence, which is invisible. The devices operate under a physical neural network. An infrared LED illuminates invisible lights within a certain range. Together with a general communication module called XBee, the etheroid uses XBee to send information from one to another. The information list corresponds to a temporary storage area. Since the list is constantly updated, operation will continue even if the number of etheroids increases or decreases.


Title: From This Side of Space to the Other Side of the Signal
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

“from this side of space to the other side of the signal” utilizes footage produced on unique analog equipment from the early history of
video during a residency at Signal Culture (a contemporary version of the original Experimental Television Center in Owego, NY), and emerges from a nod to Michael Snow’s iconic structural film La Région Centrale. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into some act of connection, of crossing over, only to be perpetually interrupted by barriers of interference. “from this side of space to the other side of the signal” is a two-channel piece that engages both the history of early video tools and contemporary forms of 2D and 3D animation. Using these analog tools as a way of addressing the historicity of the body, and as a way of defining the space of bodies (via their moving textures) in novel as a way of engaging our contemporary hybrid experience. Queering the distinctions between subject, object, transmission, physicality and the ephemeral larger questions about the nature of our technocultural existence rise to the surface.


Title: Genderbender, Smartstall, The Automatic Confession Machine
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
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Title: Gradus: Revealing the Shape of the English Language
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
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Title: Hive
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

With HIVE, we intended to explore the idea of a sonic intelligence: learning, experiencing, reacting, and finally, “thinking” in sound. Can we model such a system? A system with a body whose morphology is based on picking up and sending sound signals, a system who can learn from its environment and evolve in its response, a pseudo ‘being’ that traces our sonic foot-print and projects our sonic reflection. Created via fusing aspects of sculptural form, spatial sound, interactive methods, and machine learning, HIVE is an art installation that explores the relationship between sound, space, body, and communication.


Title: I Touch You And You Touch Me
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

We interact with our computers constantly, touching them more than we touch any person in our lives, and grooming them inside and out. For a month, I recorded all interactions with my phone and fed them into a machine learning system, which then output new, learned gestures. These “hallucinated” movements are awkward yet eerily accurate swipes, taps, and typing based on what my computer has learned from my interactions with it. Presented as an interactive sculpture, the gestures are enacted by a small robotic arm on the visitor’s palm as they sit at a low, altar-like table. Notions of “you,” “me,” and “I” are doubled, enacting the understanding of the machine and at the same time a self-portrait of my interaction.


Title: Izzy Bombus and the Story of Flight
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
Abstract:

Izzy Bombus and the story of flight is a prototype CD-ROM consisting of an animated story with associated games and educational activities for children ages four through seven. Izzy, a young bumblebee, discovers that according to the laws of aerodynamics, the bumblebee cannot fly. Dismayed but undeterred, izzy collects implements from a kitchen drawer to build a flying machine and asks her viewers for help with the construction. With izzy in the cockpit, the viewer pushes the launch button, the countdown begins, the smoke swirls … lilt-off!

What happens next? izzy bombus is a story al resolution and innovation in overcoming obstacles. Izzy is a girl bumblebee involved in activities not traditionally considered the domain of girls, such as aerodynamics, flying, building, and exploration. The adventure is accompanied by original delta blues music by Blind Mississippi Morris. Ten games and educational activities are linked to the story and can also be accessed directly from a menu screen.

The story is complete and fully interactive ta the point where it branches to the various endings. A short, animated introduction leads to a menu where viewers choose between the story or the games menu. The “know-it-all­bug” serves as a guide, offering instruction and advice. Games and activities can be accessed as the viewer progresses through the story or directly from the menu.

Through this project, I am attempting to make connections between my experience as a designer of traditional print graphics and new media. My goal is to produce a viable commercial product for the children’s CD-ROM market as well as to incorporate the experience into the planning and implementation of coursework in multimedia. Work began on the project in January 1996 and is continuing.

In crossing the boundaries between graphic design for print and graphic design for new media, I explored and considered the possibilities and al the same time dealt with the realities and limitations of desktop multimedia. As a graphic designer, my interest is in innovative design that combines an understanding of traditional principles of visual communication with the unique possibilities offered by the interactive experience.

With this project, I have employed a collage method of assembling the illustrative elements of the story in an eclectic style. Elements are painted, drawn, and assembled from old engravings. Traditional methods are used for parts of the illustrations, while others are entirely computer-generated. The combination of techniques produces a rich, textural quality and unex­pected combinations.

Another unexpected aspect of the project is the music. The blues, a part of the unique cultural heritage of the South, has gained an appreciative audience throughout the world. Although this type of music is unusual in the domain of children’s products, the connection between the sound and the movement and activities of the bumblebee makes it an appropriate choice.

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Title: Langjiao - Beinan Road
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

In Syuhai, where I grew up, there is an old trail that connects the “Puyuma to Longkiau”. My hometown and the area surrounding it is home to a large population of indigenous people, and their ancestral spirit is the hundred-pace pit viper. Therefore, I used a 360 degree camera to capture the the left and right sides of the trail, and converted the image to simulate a half-human, half-snake perspective. With these images, I invite viewers to put on the VR device, and together enter the imaginary world of a hundred-pace pit viper traversing this ancient trail. This work also discusses the human perspective, where we use our eyes to see the world in front of us, whereas the sounds we hear with our ears come from the two sides of us. In this work, viewers can switch from the human perspective to see the world from two sides through the eyes of the hundred-pace viper, and experience the wonder of the merging of your auditory and visual perception.

This psychological landscape created using the VR device not only takes us back along the path once taken by the ancestral spirit of the indigenous people, it also allows us to experience the blending of the real and virtual world.


Title: Making Caricatures with Morphing
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
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Title: Mantra
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

Project Mantra is digital panorama video that represents hyper-realistic landscape with collapse of human interaction expressed through movement and code generated visual images. This videos deal with perception, especially with aesthetic Korean traditional dances and the way recreate the landscape through software and simulation. In reviving and re-contextualizing traditional into digital scenes and contemporaneity, to directly combine a culturally deeply embedded art form with the tools of digitalization, and dominates the contemporary culture leading to a new art form. A traditional dance called Seungmu, which performs a human desire to overcome his suffering, presents dynamic and yet delicate movements, and its encounter with computer codes creates randomly but meticulously calculated images – a beauty created by human and images made by machine. Inside of endless communication between them, a new experiential form of vision and sound will be developed and provided.


Title: Meros
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art

Title: Mind-Body Dualism
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

Mind-Body Dualism examines the topic of existence as a physical being and digital being simultaneously, adding nuance to the Cartesian idea of separation of mind and body and proposing yet a 3rd separation: The virtual body.


Title: Multi-Media Metamorphosis (or making the medium shoe fit)
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
Abstract:

A large portion of my work has entailed toking a theme or story and giving it life in a variety of media. The Mutant Gene & Tainted KoolAid Sideshow CD-ROM (completed October 1995) is a navigable interpretation of a series of performances I staged in 1994, by the same name. The performances incorporated live and pre-recorded, multiple-monitor and projected video; animation; text; both sequenced and live instrumental music; and dramatic artifacts and performance elements such as masks and dance.

Beginning with the psycho-dramatic confession of on extraterrestrial, the piece journeyed into a series of multicolored, entropic landscapes. My intent with the performances, and the use of technology, was to create alternate or augmented realities for on audience. I wanted the audience to be immersed in on environment of sound, light, and motion, which often paralleled the content – in essence, making certain fantasy states real. The CD-ROM emerged from a desire to break down the linear constraints of a performance to create a more personal “circular” experience, where on individual con explore the environment in any order, without being guided as a collective “audience” through various states.

Similarly, The Grimm Tale (or the Story of the Youth Who Went Forth to Learn what Fear Was) began as a Web site. Cloy puppets were created to represent each of the characters in the tale. Hours of footage were shot, keying the characters on top of beds of analog video patches. Then, after the video was digitized, dozens of small loopable gif animations were mode, and a continual MIDI soundtrack was constructed. In its second incarnation, The Grimm Tale is a performance, similar to The Mutant Gene, with MIDI triggering multiple video and animation events.

Taking a piece and creating a work as a performance, CD-ROM, or Web site presents fascinating progressions and developments. Each of these media hos individual advantages, limitations, opportunities, and constraints, all of which have to be worked within, token advantage of, and manipulated to make the piece a wholly new and unique work in its own right, in its new form.
This presentation examines the implications of traversing media, the technical issues involved in crossing medium boundaries, and related conceptual issues.

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Title: Multimedia Interactive Artist's Archive and Retrospective
Author(s):
Exhibition: SIGGRAPH 1997: Ongoings
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Title: ParkBench Public-Access Web Kiosks
Author(s):
Exhibition: SIGGRAPH 1996: The Bridge
Abstract:

ParkBench kiosks address the problem of elitism in cyberspace. The Internet’s information and connectivity resources seem to promise universal access. Our aim is to reach out to those who lack the prerequisites for getting on line.

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Title: RealSnailMail [RSM]
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art

Title: Record One Message to The Person You Love!
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

The title, “Record One Message to The Person You Love!”, invite the audience to stand in front of the voice reception installation and say a few words to their loved ones. These messages will be processed by the processing computer program in real-time and converted into dynamic data images according to audience’s volume and frequencies of voices. The messages can also be immediately converted into 3D printing model files, which can then be printed into unique white vinyl disc-shaped objects engraved with each person’s own identity markings. In the end, each of the 3D printed objects will be displayed on the wall. Audience will be able to use the AR interface on the mobile device to replay the messages and videos corresponding to each of the 3D prints. Also expresses the feelings one has towards a lover through just a few words during interaction with the work.

Through this work, we discuss how in the digital age, all of our messages may someday become souvenirs to be stored, printed, and replayed records. Through exhibition in different countries and locations, and the collection of messages to their loved ones by a large number of people, this installation has the potential to become a big database. Gradually, with an ever increasing number of messages recorded, it might even become a museum for sound and memory. Also expresses the feelings one has towards a lover through just a few words during interaction with the work.


Title: Robosophy Philosophy: Übermensch and Magnanimous
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Abstract:

In the project Robosophy Philosophy (Meeting Points: Übermensch and Magnanimous) robot are mixing words of Aristotle and Nietzsche (and their words are everybody words) based on calculations and algorithms. If grammar is the “metaphysics of the people,” as Nietzsche claimed, then discussions in the installation is “metaphysics of the machines” and as such ant-words or anarchistic grammar. It is a vision of transfer of knowledge in the future and present criticism of society and technoculture which is allowing brutal destruction of human context replaced with artificial and superficial. Key technical novelty presented in Installation Robosophy Philosophy is the combination of chatbot technologies and Recurrent Neural Network (RNN) models that will enable reinforcement learning in order to create artificial conversational agents who will achieve human level performance. The fact, that things can communicate with each other and with the humans enables unsupervised learning and reinforcement learning and knowledge multiplying opportunities.


Title: Skorpions
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Abstract:

SKORPIONS are a collection of kinetic electronic garments that use the shape-memory alloy Nitinol to move and change on the body in slow, organic motions. They have anthropomorphic qualities and can be imagined as parasites that inhabit the skin of the host. They breathe and pulse, controlled by their own internal programming. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation, and unpredictability.

SKORPIONS integrate electronic fabrics, soft electronic circuits, specially designed circuit boards, Nitinol, mechanical actuators such as magnets, and traditional textile construction technique. The cut of the pattern, the seams, and other construction details become an important component of engineering design. SKORPIONS are not interactive: their programming does not respond to sensor data. SKORPIONS shift and modulate personal and social space by imposing physical constraints on the body. They alter behavior, by hiding or revealing hidden layers, inviting others inside the protective shells of fabric, by erecting breathable walls, or tearing themselves open to divulge hidden secrets.


Title: Space Race
Author(s):
Exhibition: SIGGRAPH 1996: The Bridge
Abstract:

SPACE|R A C E, an interactive multimedia piece about the 1960s U.S. Civil Rights movement and space program, encourages viewers to experience paradox and ambiguity as natural parts of human existence in a complex world.

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Title: Spacequatica
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art

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